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首页> 外文学位 >New center, old periphery: Race, identity, and regional thematic influences in Afro-Brazilian art.
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New center, old periphery: Race, identity, and regional thematic influences in Afro-Brazilian art.

机译：新的中心，旧的外围：非洲裔巴西艺术中的种族，身份和区域主题影响。

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摘要

This dissertation examines modern (1922-1984) and contemporary (1985-2006) Afro-Brazilian art from the perspectives of both Latin American and African art history. The growth in interest in Afro-Brazilian art is related to the Brazilian social, historical, and art historical contexts, as well as to the development of the American study of artwork from the African Diaspora. The text provides an overview of the way Afro-Brazilian art has been approached by individuals in the United States and Brazil, and outlines the predominant trends, and limitations of the discourse to date. Specifically, the roles that race, identity, and regional thematic influences play in relation to Afro-Brazilian art are examined. Historically, Europe was considered the cultural center in the center/periphery model and Brazil was part of the periphery. I argue that during the post-colonial period, scholars in the United States have identified Africa as the cultural center in their examinations of the Diaspora. As a result, Afro-Brazilian art that most closely follows African cultural and artistic models is given a central role in the academic studies and exhibitions. This dissertation also explores how some of the theoretical concerns put forth in contemporary African art criticism apply to Afro-Brazilian art.;The works of four artists are used as a lens through which to view some of the trends in Afro-Brazilian art from 1970 to 2006. These individuals were chosen to represent different media, geographical locations, and artistic ideologies. Painter Abdias do Nascimento (b. 1914), and multi-media artist Ronaldo Rego (b. 1935) are both modern artists located in Rio de Janeiro. Photographer Eustaquio Neves (b. 1955) from Diamantina, Minas Gerais, and multi-media artist Rosana Paulino (b. 1967) from Sao Paulo, are the two contemporary artists discussed in-depth. The examination of modern and contemporary Afro-Brazilian artwork reveals shifts in collective versus individual identity, and changes in the way that African-descendent artists use their work to fight race-related challenges in Brazil. This dissertation is largely based on primary research conducted in Brazil, including interviews with artists, curators, and scholars.
机译：本文从拉丁美洲和非洲艺术史的角度审视了现代（1922-1984年）和当代（1985-2006年）非洲巴西艺术。对非洲巴西艺术的兴趣的增长与巴西的社会，历史和艺术历史背景有关，也与美国对非洲侨民艺术品研究的发展有关。本书概述了美国和巴西的人们对非洲巴西艺术的处理方式，并概述了主流趋势和迄今为止的论述局限性。具体而言，研究了种族，身份和区域主题影响与非洲巴西艺术有关的作用。从历史上看，欧洲被视为中心/外围模式的文化中心，而巴西则是外围的一部分。我认为，在后殖民时期，美国学者在考察侨民时将非洲视为文化中心。结果，最接近非洲文化和艺术模式的非裔巴西艺术在学术研究和展览中发挥了核心作用。本文还探讨了当代非洲艺术批评中提出的一些理论关注点如何适用于非洲巴西艺术。以四位艺术家的作品为视角，观察了1970年以来非洲巴西艺术的一些趋势。至2006年。这些人被选为代表不同的媒体，地理位置和艺术意识形态。画家Abdias do Nascimento（1914年生）和多媒体艺术家Ronaldo Rego（1935年生）都是位于里约热内卢的现代艺术家。来自米纳斯吉拉斯州迪亚曼蒂纳的摄影师Eustaquio Neves（生于1955年）和来自圣保罗的多媒体艺术家Rosana Paulino（生于1967年）是两位经过深入讨论的当代艺术家。对现代和当代非洲巴西人艺术品的考察揭示了集体身份与个人身份的变化，以及非洲后裔艺术家使用其作品来应对巴西与种族有关的挑战的方式的变化。本文主要基于在巴西进行的主要研究，包括对艺术家，策展人和学者的采访。

著录项

  • 作者

    Cleveland, Kimberly Laura.;

  • 作者单位

    The University of Iowa.;

  • 授予单位 The University of Iowa.;
  • 学科 Art history.;Latin American history.;Black history.
  • 学位 Ph.D.
  • 年度 2007
  • 页码 321 p.
  • 总页数 321
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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